I'd be interested in taking a shot at mixing and mastering your project. In fact, I happen to have plenty of time at the moment (which is unusual for me) and would only ask to be paid if you were completely satisfied with my work.

Obviously, you would need to send to wav files etc. on CD via snail mail.

Let me know if you are interested. I have the Waves Platinum package, UAD-1, good monitors\room, and even some high-end analog gear that I can run tracks out through (Manley SLAM!, Massive Passive and Empirical Labs EL-8 Distressors among other things).

That sounds like a lot of fun. If you decide to do this, I'll volunteer. email me at *d*o*n*-*m*c*g*e*e*@att.net (take out the asterisks).

I'll give it a go, no charge just out of curiosity and for fun!

if it's just a two track mastering, no probs downloading up to a stereo 24bit 44.1khz Wav.

If it is the full multitrack project, then email me for my address and post it to me :o)

jason@stakeoutstudios.com

Jason

fishtank: how are the SLAM's mic pre's? I'm using the Manley MP40/2 dual monoblock mic pre's, which are great! just wondering if you've heard both?

the MP 40/2 is the same mic pre as in the VoxBox but apparently the Slam's a different beast!

Larryo,
Some recommendations on doing this type of thing yourself. I would look into getting Sound Forge 7.0 if you already haven't gotten it. You already mentioned that your music style is similar to Brian Setzer's. This is a good start and you can use his music as a reference point. His music has been mastered by professionals, thus you can use their experience to benefit from. What you need to do is to do some A/B comparisons between your music and one of your favorite Brian Setzer tracks....one that is similar in instrumentation and that you feel confident sound good to your ears. Go into Sound Forge and do an A/B playback, to see how your mastering compares, to the Brian Setzer track. Next, make sure both tracks are nomalized to 0dB peak. Use the VU meter within Sound Forge. This will give you an A/B comparison of loudness, as perceived by the ear. Is your track relatively the same reading on the VU? The next thing to use in Sound Forge is the Spectral Analysis. Take a Spectral snapshot of the Brian Setzer track. Keep that snapshot displayed on the screen. Now playback your track...is there any huge peaks or valleys in the spectral curve compared to the Brian Setzer track? Take note of the spectral curve differences and do some EQing. Take note of the VU level differences and start adding compression to match them up.

Using a VU meter and Spectral Analyzer, you can overcome a lot of hearing limitations....thus they're visual tools for sound....unless you're half blind too, then you might be out of luck. :-)

I've used a spectral analyzer, and VU meter for all my mastering projects. I've become so familiar with using them, on a couple occassions when I had some free time, I've actually just used the visual tools, added EQ and compression without even listening to the track until it looked good to me visually. Then I listened to it. I've amazed myself that it actually sounded pretty damn good without even listening to the adjustments I had made.

Another good thing is that you've already acknowledged some hearing limitations. I've worked with some elderly engineers with hearing loss. They where some of the best listeners I've seen. The thing is they where trained listeners and knew where their hearing limitations where. Using the A/B comparison on the same system, will help you overcome hearing limitations, thus you're listening with the same ears, through the same speakers. The key is that you need "reference" material.

red

The SLAM is probably the most impressive piece of audio gear I have ever owned - the only bad thing about it is the price! The mic pre's are fantastic and I'm told they are the best that Manley has ever made. I have not had a chance to use any of the other Manley pre's, so I can't say how they compare. The pre design was supposedly done by the guy who did the Groove Tubes Vipre (which I have as well). The SLAM sounds similar to the Vipre, but seems to have just a wee bit of extra high-end zing. Of course the Vipre has many ways to alter the sound of the pre while the SLAM is pretty much just one flavor.

The comps on the SLAM are also incredible. I assume the optical is the same as what you get in the VoxBox and the ELOP stand alone unit - neither of which I have ever used. It is utterly amazing to hear a good vocal compressing heavily and sounding fat while retaining *air*. The FET comp is also amazing and can be used together with the ELOP.

I paid a huge sum of money for the SLAM - I do not regret it one bit.

goddamn. I'm jealous.

I'd love a Slam and a Vipre! ... and a Voxbox.

However, I've just ordered the Apogee Rosetta 800 with a Hammerfall 9652 car and some Mackie HR824's

that'll break the bank for long enough as it is!

If you do need to add more plain and simple mic-pre's the Manley MP40/2 is a stunning bargain. Doesn't have any compression or such, just two massive sounding microphone preamps with variable negative feedback.

the clincher is, it's reasonably priced, especially for a piece of Manley kit!

Jason

I always have this self dilema about those outrageously priced Manley mic-pre's. For one I understand the big part of the sound comes into account due to the attributes of the mic-pre. The problem is that I listen to my DBX mic/pre's and they sound pretty quiet to me and cost a fraction of a Manley pre. Then I listen to all the radio hits out there, and consider myself a pretty well trained listener. You know, I can't say for sure as I can definately tell if a vocal part on any of those hits have been run through a Manley mic/pre or not. I can tell a lot of time's if it's been put through a Lexicon reverb though. So I end up putting my wallet right back in my pocket and saving the cash for something else, because if I can't tell the difference on the final mix for sure or not, then I'm not paying a small fortune for nothing. I could be wrong, they may be well worth the $3k+